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Mitchell Funk
Wherever You Look You See the Chrysler Building: 30 Rockefeller Observation Deck

1980

$7,000
£5,325.39
€6,227.02
CA$9,789.81
A$10,997.74
CHF 5,852.87
MX$135,991.30
NOK 71,317.91
SEK 68,954.19
DKK 46,447.71
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About the Item

Wherever you look, you see the Chrysler Building. In 1980, it was easier to see it because there was less clutter in the Manhattan skyline. From the Observation Deck of 30 Rockefeller Plaza, Mitchell Funk uses an extremely wide-angle Fish-Eye lens to show the scope and depth of Manhattan and its surroundings. The Chrysler Building Crown still beckons in a myriad of shimmering lights. This image is 45 years old and documents the world's great urban space as it looked in 1980. In the distance, the Twin Towers and the Empire State Building stand out, and that was it in terms of super-tall structures. This unencumbered vantage point can not be used today since the Observation Deck of 30 Rockefeller has placed thick glass around the viewing area. In a continuing project, "Mitchell Funk Photographs the Chrysler Building for 50 years," the present work is a stellar example of how Funk takes one of the most photographed world icons and represents it in a fresh and electrifying way. The uploaded video on 1stDibs is coming up a bit off color. Refer to the still images for more accurate color Signed, dated and numbered 3/15 lower right recto. Other sizes are available. The work is unframed and printed later. Printed on Hahnemühle Fine Art paper . Can a street photograph be a grab shot and precisely designed at the same time? Mitchell Funk says yes. He brings finely honed photography skills such as composition, intense lighting and design to found subject matter. Mitchell Funk brings the compositional precision of studio photography to street photography. Unlike most street photographers, Funk is an abstractionist while being a documentarian. For the last 55 years, Mitchell Funk has endlessly explored the relationship of light, color and shape. These interactions have become the central pursuit of the artist. Mitchell Funk is a pioneer of "Color Photography" In 1970 he participated in one the first "Color Photography" shows at a major museum. Brooklyn Museum, show "Images en Couleur". 1971 Included he was included in the visionary book "Frontiers of Photography" Time Life. Color! American Photography Transformed. Amon Carter Museum. He has had more than 50 Photography Magazine Covers and has had covers on Newsweek, Fortune, New York Magazine and Life Magazine among others.

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9/11 - Twin Towers in Angelic Light, Architecture
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Since its construction, Mitchell Funk has been chronicling the Twin Towers, of the World Trade Center. More specifically, he has been recording how light affects and transforms the two giant monoliths. Like us all, Mitchell was inspired by the formidable presence of the two buildings. Living in Brooklyn Heights with great views of lower Manhattan gave him a special advantage and opportunity to assemble some of the most iconic Twin Tower images ever taken. To Mitchell Funk, the Twin Towers, of the World Trade Center were the perfect synthesis of commerce and art. Most modern architecture is simply functional. Minoru Yamasaki's Twin Towers were in fact something quite radical. They were a steel and glass expression of Minimalism on the grandest scale in human history. Everything in the towers was stripped down to its essential quality with nothing extraneous added ….. except light. The way the buildings reflected light made them unique and inspired Mitchell to record them in color for 32 years. Although, the exterior was actually made of a very reflective blue/grey stainless steel the warm light of daybreak and sunset could change their color and transform them from buildings into and mystical monumental sculptures. With the help of the sun as a key player, Mitchell’s images of the Twin Towers progress from the mystical to the spiritual as they reflect the sun’s intense golden energy. Under these conditions, one could argue, that the Twin Tower housed the same type of divine energy as the adjacent churches. In the wake of the 9/11 tragedy, one could interpret Twin Tower sunset images differently. A sunset can be a symbol for the end of the day or simply The End. The 1969 image “Dead End” is a visual prognostication. The North Tower is under construction in the background and in the foreground, Mitchell has framed it between two street signs that read Dead End. In Mitchell’s Twin Tower photographs, he is not taking a tourist picture that says “here I am on the Brooklyn Heights Promenade...
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